Tag Archives: Chitãozinho e Xororó

If there is one word can define the 1990s, that is globalization. With Brazil’s growing openness to the globalized nineties’ culture, greatest influence of foreign musical trends was unavoidable. The youth of that period would increasingly enjoy dancing -in night clubs- to the new electronic rhythms, such as techno, trance and house.

Globalization also made easy for Brazilian music to gain worldwide recognition. After pioneers like Carmen Miranda, many other names gave Brazilian popular music international publicity during that decade.

In the 90s, other styles like funk carioca and hip hop became popular among young people of the country’s Southeast, whereas the brega style “resisted” and was renewed, remaining popular especially in the North and Northeast regions.

These are the songs I chose from this period:

74) João Gilberto – “Eu Sambo Mesmo ” (1991)

One of bossa nova’s fathers, João Gilberto is a consummated artist since the fifties, with enormous international recognition since then.

His 1991 album João, with orchestrations by Clare Fischer, featured songs in English, French, Italian, and Spanish, plus old sambas and his version of Caetano Veloso’s “Sampa”. This song (“I Really Samba”) is the opening track of this wonderful album.

75) Sergio Mendes – “Magalenha” (1992)

“Magalenha” was composed by musician Carlinhos Brown and is the second track of Sergio Mendes studio album Brasileiro. The energetic vocals by Carlinhos and the explosive rhythm of the Bahian percussionists are just electrifying … I dare you not to dance when you listen to it!

“Magalenha” appears in the soundtrack of the 1998 film Dance with Me .

76) Daniela Mercury – “O Canto da Cidade” (1992)

“The Queen of Axé”Daniela Mercury is well known for popularizing axé music, not only throughout Brazil, but also internationally. As a matter of fact, she enjoys a goddess-like worship in Salvador da Bahia.

Her second album, O Canto da Cidade (1993) was a national phenomenon, establishing her as the most popular Brazilian performer of the early ’90s. The title track of this album (“The tune of the city”), a celebration of her native Salvador, became a sensation and topped the charts. Not only was O Canto da Cidade the first Brazilian album to top a million in sales, but it remains her best-selling album to date, with millions of copies sold -and it continues to sell today.

77) Timbalada- “Beija Flor” (1993)

In the late 1980s the talented drummer Carlinhos Brown started to form percussion ensembles in his hometown Salvador; he simply gathered people in the streets and taught them basic percussion patterns. Eventually these gatherings grew into a band called Timbalada.Timbalada is credited with the revival of the timbal (a kind of drum used in candomblé), which had been nearly extinct before they began featuring it. Moreover, the band melted the rhythms of Bahia with those of Afro-American and Afro-Caribbean origin, such as samba reggae and axé and added some pop elements; the result is an interesting, extremely prototype sound. The band’s aesthetics also has a distinctive character: the vocalists make heavy use of body painting, which provides a tribal touch and adds to their originality. Timbalada is also well known for its regular participation in Salvador de Bahia’sCarnival.

Due to their innovative music and particular aesthetics, it didn’t take long until the band caught the attention of Brazilians -and the entire world, gaining deserved, huge popularity. Their first album, released in 1993, has one of their major hits, Beija-flor (“Hummingbird”).

He did release his own version of “Madalena” in his 1993 Minha História; in here though I include this marvellous, live version with Elis Regina, featured in the album Elis Regina e Ivan Lins – Juntos (Ao Vivo).

79) Chico Science & Nação Zumbi – “Da Lama Ao Caos” (1994)

From the mud flats of his natal Recife, Chico Science began to experiment with music, blending maracatu with reggae, funk, rap, and rock. The mixture of ancient folkloric Northeastern rhythms with world pop and electronic music would become referred as mangue beat (“mud beat”). Mangue beat eventually grew into a musical movement, one of the most characteristics of Brazil’s musical scene of the 90s.

80) Mamonas Assassinas – “Pelados em Santos” (1995)

Characterized as a satirical rock band, Mamonas Assassinas‘s sound consisted of a mixture of pop rock with influences of popular genres such as sertanejo, brega, pagode, forró, and vira. The only studio album recorded by the band, Mamonas Assassinas, with the hits Pelados em Santos“, “Vira-Vira” and “Robocop Gay” had a meteoric success, rapidly becoming diamond-certified.

Unfortunately, their career was tragically interrupted in March 2, 1996, when the group was the victim of a plane crash which caused the death of all its members, and a great national commotion. In spite of their brief success, the band continues influencing the national musical scene and being celebrated even now, more than two decades after its end.

81) Carlinhos Brown – “A Namorada” (1996)

Not only a talented percussionist, Carlinhos Brown is also a greatly praised composer and vocalist. After his success with Timbalada (see above), he decided to display all his musical virtues in his solo album Alfagamabetizado. For the album’s release, Carlinhos Brown performed many shows throughout Brazil, The United Status, Japan and Europe. The track “A Namorada” was the biggest success, even being included on the soundtrack of the film Speed 2, where he also made a cameo appearance performing the song.

82) Skank- “Garota Nacional” (1996)

Belo Horizonte band Skank became one of the most popular bands in Brazil in the ’90s. Mixing influences of pop music, reggae, ska and rock & roll, Skank reached the market with their first eponymous album. Their 1996 album O Samba Poconé includes one of their greatest hits, Garota Nacional. Although “Garota Nacional” literally translates to “national girl”, the song is not about the women of Brazil, as usually believed: it refers to the “girls of Bar Nacional”, a bar and nightclub in Belo Horizonte famous in the early 1990s for its beautiful female patrons.

83) Simone and Martinho da Vila – “Ex-Amor” (1996)

One of the greatest Brazilian female artists of all time, Simone is a sensuous singer with a signature low, mellow voice. Although having a more activist repertory in her beginnings, she later abandoned it in favor of more mainstream, romantic songs, with which she has enjoyed international success.

In this song she unites her voice with that of another iconic MPB and samba singer/composer: Martinho da Vila.

84) Chitãozinho e Xororó – “Luar Do Sertão” (1996)

With a 30 year-career, 30 released albums and the impressive 30,000,000 sold copies, Chitãozinho e Xororó are a real phenomenon in Brazil. The two singers were the first artists to successfully promote the fusion of “redneck music” (caipira) with urban pop, opening the field for a millionaire craze which would become known as sertanejoromântico, a genre that ultimately took all regions of Brazil -and many other countries. Indeed, Chitãozinho e Xororó have performed with artists such as Billy Ray Cyrus, Reba McEntire and the Bee Gees.

This song, Luar do Sertão (Hinterlands Moonlight in English) is a popular, old Brazilian song, one of the most recorded Brazilian songs of all time. Its simple verses praise the life in sertão (English: hinterlands or countryside). It appears in their album Classicos Sertanejos and counts with the participation of Simone.

“A felicidade” has had many re-recordings throughout the years; I love this one by the Quarteto Jobim-Morelenbaum, which features Antonio Carlos Jobim’s son, guitarist/vocalist Paulo Jobim, and his grandson, pianist/vocalist Daniel Jobim, along with cellist Jacques Morelenbaum and his wife, vocalist Paula Morelenbaum. With the exception of Daniel, all of the group’s members were members of Jobim’s final band before his death in 1994.

86) Ney Matogrosso – “Poema” (1999)

Famous for his singular countertenor voice, but mostly for his provocative stage costumes, make-up and daring movements, Ney Matogrosso has always been regarded as a controversial character. What nobody can deny is that Ney is an extremely talented artist. In fact, he was ranked by Rolling Stone as the third greatest Brazilian singer of all time.

He is best known as a member of the glam rock group Secos & Molhados, a phenomenon band during the 1970s. After the band split up, Ney pursued a successful solo career in Brazil and abroad, obtaining several Gold and Platinum records.

This song (“Poem”) belongs was released in Olhos de Farol, an album that celebrated 25 years of Ney’s solo career.